I got food poisoning yet again. This time it landed me in the hospital. I’m out now and feeling better but still have no oomph to post to the blog. Please forgive my absence for a bit while I get my oomph back and thank you everyone who visits, follows, and ‘likes’ here on 50lux.com.
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Okay, I officially don’t like the reblogging button here on WordPress. So I’m rePOSTING this post from last summer.
Throwing a bunch of pics up that have been given the Instagram process. Even though none of them were taken with my iPhone.
Three times in the last few weeks I’ve seen homeless people taking pictures with their empty hands. Are they mocking the hoards of geared-up tourists that surround them? Or do they, just like any of the rest of us, simply have a longing to make a photograph of what they are seeing?
Someone just paid that much for Barnett Newman’s ”Onement VI”, a painting which consists of two vibrant blue rectangles neatly divided by a single, light blue line, an arrangement that Sotheby’s called “a portal to the sublime.”
Won’t someone please kindly pay Barnat Donald a million or so for this fine image taken late last year entitled “Is This Leica a Righteous Bitch to Focus Already? #10465″
Still feeling about a mile under the weather due to a dose of bad chicken or something from the salsa bar at a local eatery that shall remain nameless, so I'm not feeling much like writing or working on my blog and I'm forcing this if it comes off a little spiteful or bitter or full of self-loathing and gnashing of teeth.
I very briefly shot women’s soccer a few years back. I wasn’t very good at it. I don’t think anyone noticed. Certainly nobody complained. But after the league’s inaugural match here in Los Angeles there was a short euphoric moment when fans and the press gathered near the tunnel and got to get up close with some of the truly greatest women’s soccer players in the world, including the consensus greatest player of them all, the Brazilian marvel known simply as Marta, pictured above and in the last two shots.
Metropolitan Opera, 1951
“Mr. Winogrand had no patience for the phony sympathies he thought connected too many photographers to their subjects. In the exhibition catalog, Mr. Rubinfien writes that the most successful pictures, in Mr. Winogrand’s mind, were the ones “that told you that the world was a jumble of fragments, that the truth was more complex than any account could be.”
One from the very old pre-Leica days.
